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Interview with artist N.Stortelder

By /ART/, /BLOG/, /INTERVIEW

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I r e n  R u s s o 

Interview with artist N.Stortelder

Can you tell us about the process of making your work?

Every time the process is a little different. Ideas are everywhere and when one sticks I have to get it out of my head. Sometimes I will set up a photoshoot with a specific idea in mind and other times the structures of an image will lead me completely. Photography is almost always the basis of my work but I still think sculpturally; copying, pasting, layering, and transforming imagery into a new reality.

Sometimes it feels like I work in reverse. Only at the end of the making process when I feel the work is finished I can clearly see the meaning in what I was trying to achieve.

What is your daily routine when working?

I don’t have a set daily routine when working and that is something that I like. Each phase of my art practice has its own routine characteristics, however, in all of my practice the studio must be tidy and clean. This keeps my head empty enough to focus on the art.

Meditation helps me to listen to what is really important, and coffee helps me buzz with ideas whilst listening to the Coffee Jazz playlist…

What was the key influence that led to the development of your process and style?

During a study of advertising, communication and design I realised I was drawn towards the photographic elements of the process. This led me down a different path into the fine art world where I eventually graduated as a sculptor from the art academy.

The choice to switch from the foundation year “Lifestyle & Design” to Fine Art and graduating as a sculptor has been of great value not only for the process but also my style.

What does art mean to you personally? Is there a goal you’re trying to accomplish?

Art is my diary. It is an escape and a release. It is a filter to see the world through. I try to understand myself and the world through art.

Do you have a life philosophy? Does your creative practice fit in with this philosophy?

My motto in life since I was little has been „Then die“ (in response to the question; What is the worst that can happen?) This motto has brought me to special places, has led me to special people and has pushed me to do things that I was initially afraid of. This sounds a little heavier than it actually is because of course I don’t want to die…

I also try to live a healthy life by looking after my body, but also my mind. When they are in balance, the creative work can flow more easily.

However, I am aware that black cannot do without white. There are days when everything goes against the grain, when I don’t understand the world. These “dark” days can also give me inspiration. This makes me wonder what happens when everything is in perfect balance. Could I still make art?

Have you ever had a moment when you questioned your career entirely?

Of course, everyday.

How has covid affected you and your art?

Practically speaking, because of the pandemic my part-time work as a teacher was largely canceled, and therefore, I had all the time in the world with my good old all-time favorite friend; My Art.

It felt like home. I finally had some time to take a step back and see from a distance what I had been doing all these years – only creating, with no real structure or plan. I decided to invest some time in organizing all of that work and create more structure moving forward.

I was also able to create a bit of a platform for my work and communicate with a small but appreciative audience which I feel extremely grateful for, especially during these times.

How do you think the art world will shape in the future?

In the same way it has always done.

What’s next?

I am currently doing research on how I can bring my 2D digital work back into a 3D reality. Next to that, I want to create a solo exhibition with the biggest prints possible.

Instagram Noortje Stortelder: @noortje_stortelder

Profile picture is made by photographer Jon Twigg jbtwigg.com
Januar 4, 2021
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MBFW Russia: How It Was This Time (Part 2)

By /BLOG/, /FASHION/, /NEWS/
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Julia Kryshevich

MBFW Russia: How It Was This Time (Part 2)

In the previous part we’ve started reviewing trends spotted this season at Mercedes Benz Fashion Week Russia, which ran phygitally from October 19 till 23. Having figured out how new femininity and gender fluidity are mirrored in the designers collections, we are proceeding with the rest of the trends. 

F U T U R E    I S    C O M I N G

Humankind has always wondered what the future might look like. While many of us tend to have a more positive vision of tomorrow, some highly sensitive and thinking individuals like artists and scientists often suggest their anti-utopian views. One thing’s for sure, whether wonderful or terrible, the future will be different (and it will never reach our minds). Nevertheless, it’s so exciting to think how things can be. Why not daydream? 

N.Legenda

Designer Olga Kapitonova, the founder of N.Legenda, suggests that the future is already here. At least, the models walking the runway at N.Legenda latest fashion show made us think we’re ready to go into outer space. No, they didn’t wear any space suits, but the colours featured — corrugated silver, metallic petrol, and galaxy blue — created the right sci-fi futuristic look. Tunics, suits, coats, and jackets from the N.Legenda SS 2021 collection are also rather agender, which broadens the scope for experiments.

Participants of ‘Fashion a la Russe’ project 

Participants of the Krasnodar-based ‘Fashion a la Russe’ project boldly forecasted the vogue trends for the upcoming season. Kazakova Olga suggests that attached decorative prints ideally match flower frocks (some heavy boots like grinders are preferred so that the entire look doesn’t look fruity). Klimovskikh Valeria (KLIMOVSKIKH) prefers adding mysterious symbolic elements to the outfits, while Nadezhda Belousova (ValNa Fashion) bets on the hand-crafted capes that resemble a fishing net. 

B&D Institute 

All new is well overlooked past, everybody knows it. So to come up with fresh ideas in fashion you’d better ‘confer’ with some acknowledged couturiers. Just like the students of the Moscow Institute of Business and Design (B&D) did. Inspired by the figure of Alexander McQueen, his aggressive and vulnerable, romantic and passionate, and just extraordinary manner, they created a series of controversial and highly stylish outfits made from the biodegradable material. ‘What does the future of fashion look like?’ — the B&D students ask the viewer and immediately respond. ‘It’s hardly possible to explain. Just watch’. 

LOKOTO

The motto for the new collection by LOKOTO could be: ‘Future’s not everybody’. In line with the early 20th century avant-garde artists, Lena Anikeeva, ex graphic designer and LOKOTO’s CEO, decided to cut off the extra to prepare for the bright future. Just three colours of the basic palette chosen (red, black, and white), direct lines, and clear geometrical shapes — the recipe for success seems easy. Lena Anikeeva finds that clothes are like architecture — it’s the silhouette and convenience that are of primary importance. And we couldn’t agree more. 

kØd

Another version of the future a la avant-garde belongs to the Ukrainian-born brand kØd (Dutch for ‘flesh’). The latest collection of the brand stands out through a series of careful red stitches, thorough colour selection (the trio chosen by LOKOTO plus blue), and unexpected accessories. So, forward into the future, with some flowers in your hand? 

T R I U M P H   O F   T H E   C O L O U R

Spring and summer periods seem the perfect time to dress brightly. Sounds easy, doesn’t it? Yet just a few of us dare to express themselves through an intense colour palette. Taking an example from some fashionistas might help. 

1377

Ode to colour green in the new collection by 1377. Although newly-minted (tailor Sasha Zhurina founded 1377 three years ago in Volgograd), the brand regularly takes part in major fashion events worldwide such as Paris, Shanghai, and Tbilisi Fashion Weeks. The upcoming spring promises to be enchanting with a broad green colour spectrum suggested by the designer: emerald, pistachio, pine, moss, sea green etc. Loose shirts and coats and jackets emphasize the laid-back mood of the collection, while the only female mannequin featured shows 1377 is a menswear brand (rather unisex at heart, though).

TSIGANOVA and Konyukhov Art

Victoria Tsiganova is not only a prominent singer, but also a designer. Her latest collection has been issued in collaboration with the famous Russian traveler Fyodor Konyukhov, who just like many gifted people has various genii. Apart from traveling, Fyodor creates paintings, which inspired TSIGANOVA to set up a very colourful vivacious series devoted to his art. The designer isn’t afraid of bold combinations of colour and styles, she also generously embellishes her outfits with prints and patterns. That’s how an artist’s imagination might probably look like.

Annais Yucra 

The Peru-based designer Annais Yucra names herself an ‘artivist’. In her collections she calls for freedom of artistic expression and raises social issues. The SS 2021 by Annais Yucra is built upon colour blocking principles, yet the colour palette engaged is the very definition of tenderness. All shades of marshmallows are featured in the garments, while the cuts either follow the body shape or flirtatiously conceal it. 

Maison Kaleidoscope 

Taking on the role of a jungle dweller? Only green lights with the new collection by Maison Kaleidoscope. Fabrics from different parts of the world such as Egyptian cotton, Italian viscose, and Australian wool fed into the wild animal kingdom with every kind of flamingo, cobra, cheetah, and tiger present. No, it looks nothing but a masquerade, no exaggeration here. Just elegant facetious looks moderately spiced with spots-and-stripes prints, feathers, and embroidered fauna silhouettes. Trends spotted: highly-set cloche hats from the 1920s and woolen balaclavas.

B A C K   T O   T H E   R O O T S 

A few Yakut designers are on the list at MBFW this time. Together with some other couturiers they willingly show their belonging, praising the native cultural practices and making them available to the wider public. Finding inspiration in the local is a new auspicious trend, which is clearly manifested in different fields of visual arts (fashion is no exception).

Marfa Fedorova

Returning to the roots in the view of Yakut designer Marfa Fedorova initially means getting closer to nature. Reminiscing about the beauty of home boreal forests, Marfa Fedorova introduces purely natural hues within her new collection: e.g. sky blue, pine, sandstone, and clay. If it’s a choice, just loose cuts are preferred. And the sweetest ushanka-hats in tow. 

050

‘саһарҕа’ (Yakut for ‘sunrise’) is the first collection by the brand 050 to be performed on the principles of upcycling. Old vintage fabrics have formed the basis for a series of mostly snow-white authentic garments. Much focus on details plus unusual tricks like tied-up ribbons instead of shoes on feet. ‘Culture keeps on thriving, rebirthing out of the previous forms of life’ — so goes the 050 statement.

SOLKO

Another Yakut brand SOLKO doesn’t get stumped by the work-life balance issue. The new collection by SOLKO features smart dresses, raincoats, skirts, and suits that a woman can wear both for work and leisure. Warm intense shades of the garments together with a ‘frosty’ makeup (apple cheeks, red lips, and white skin) enhance the vigor and decisiveness of the owner. Shirt collar is a new trend.

LES by Lesia Paramonova

A completely different vision of the call of nature was presented by designer Lesia Paramonova. Her brand ‘LES’ (Russian for ‘forest’) went pagan this season paying special attention to rituals. Images of birds symbolize freedom and cohesion of matter and spirit, while beads on bag handles might attract good fortune. The colour palette is no less exciting: cold hues like blue and gray stand for water, while warm and tender ones embody spring and warmth and blossoming flowers.

That’s it for now. See you at the next MBFW in spring 🙂 

All photographs provided by the press-office of Mercedes Benz Fashion Week Russia

November 1, 2020
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Mercedes-Benz Fashion Week Russia: How It Was This Time

By /BLOG/, /FASHION/, /NEWS/
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Julia Kryshevich

Mercedes-Benz Fashion Week Russia: How It Was This Time

Right before we start, let me remind you of the basics. Mercedes-Benz Fashion Week Russia or MBFW, for short, is a major fashion event in Russia, CIS, and EMEA (at least, under the version of the organizers), which happens biyearly, in spring and in autumn. 

If you managed to join the April 2020 season of the Fashion Week, you could see what a success it was: although entirely running online, the three-day event attracted about 830,000 spectators. Therefore, moving the program online proved to be a natural solution for MBFW promoters in October. However, almost half of the fashion shows this time took place physically at 8 Moscow venues. No, excluding the main one, Moscow Manezh, situated a stone’s throw from Red Square. Still there were some interesting locations like Moscow Museum of Fashion and the spacious ‘Nadezhda’ loft in the historically significant city trade district.

To attend the shows you as a fashion lover or a buyer or a journalist (whatever) needed an invitation, signing a verbal promise to comply with the preventive measures against COVID-19. If you more felt like staying at home and having settled yourself comfortable enough, watching an online stream, it was a massive hit, too. High-quality videos of the shows, including close-up shots and backstage footage were available to the guests through various platforms such as the official website of MBFW and the Russian popular social network VK. Another attractive option was to view some additional news and entertaining content provided by the fashion influencers, stylists, and other folks from the local world of vogue via TikTok.

So back to MBFW program. 74 designers from six countries showcased their collections in the autumn edition of the event, including the US, the UK, Argentina, Peru, and Indonesia. As for the Russian part, it wasn’t just Moscow-driven. Saint-Petersburg, Krasnodar, Sochi, and Yakutsk have proudly presented their natives (and hosted the fashion shows themselves). This season of MBFW was mostly about clothes — the only exception that comes to mind was the Brevno eyewear brand, which showed the step-by-step process of the goods manufacturing in a video presentation. Such major figures of the Russian fashion industry as Igor Chapurin (CHAPURIN) and Elena Souprun (ELENA SOUPROUN) were on the list together with some aspiring undergraduates of the HSE Art and Design School and the B&D Institute, both Moscow-based. In order to support young professionals under the economic recession MBFW organizers enabled 13 labels to take part in the event without paying any entrance fee. So there was no shortage in young up-and-comers this time.

Though relatively young, Russian fashion industry is worth maintaining one’s focus on it. While some couturiers prefer mimicking European fashion trends (successfully, I must say), others decide on demonstrating the authenticity of the Russian DNA and focus on symbolism and national motifs. I wouldn’t like to talk in general terms (it’s hardly possible even less), however, some trends can be spotted. Here are a few insights of what Russian fashion industry breathes today. 

PART 1 

N E W   F E M I N I N I T Y

Mercedes-Benz Fashion Week Russia has never divided its seasons into male and female collections. Not that gender-fluid clothing was widely spread in Russia (quite the opposite, it’s just on the up — more on that later), but femme fashion is still considered the prevailing one. So it’s the male outfits that usually accompany women’s fashion shows, and not vice versa. In that light it’s not a big wonder that the issue of femininity remains relevant. Who is she, the ideal woman? Sounds Jungian and utopian, but always excites people’s minds. This is how MBFW’2020 participants see the answer to this question. 

The name of Elena Souprun’s SS 2021 collection ‘Bricolage’ speaks for itself. Just like the process of bricolage implies creating objects using different kinds of materials found, the new collection by ELENA SOUPRUN displays perfect integration of local motifs into a modern image. Chinese silk and moiré and Uzbek national adras fabrics formed the basis of the label’s outfits. Loose shirts, broad sashes, laidback palazzo-pants, and kimonos call for a careful selection of handmade accessories. Smells like East? Yes, but it’s also about the spirit of the Zeitgeist, independence, and infinite elegance. 

‘Bricolage’ SS 2021 Collection by Elena Souprun. Courtesy of the brand

‘Bricolage’ SS 2021 Collection by Elena Souprun. Courtesy of the brand

‘Bricolage’ SS 2021 Collection by Elena Souprun. Courtesy of the brand

K Titova’s latest fashion show might serve as a perfect example of conceptual completeness. Creative and self-aware women will enjoy stylish and practical garments by K Titova ingeniously performed in two colors only, blue and white. Plaids, patches, and flower silhouettes complete the image without overloading it. A bit off the point, a senior model was spotted walking the runway during the label’s fashion show. And that’s admirable!

‘Gardens of Secrets’ by K Titova. Courtesy of the brand

‘Gardens of Secrets’ by K Titova. Courtesy of the brand

‘Gardens of Secrets’ by K Titova. Courtesy of the brand

Maison Esve decided to go artistic. Gloss, fringe, embroidered cardigans, and flirtatious skirts — the atmosphere of the 1920s has been perfectly retrieved. In the SS 2021 collection Maison Esve suggests its admirers to take on the role of the world-famous dancer Josephine Baker. But overall, it’s all about being spontaneous, open-minded, and enjoying life as it is.

Maison Esve SS 2021 collection. Courtesy of the brand

Maison Esve SS 2021 collection. Courtesy of the brand

Maison Esve SS 2021 collection. Courtesy of the brand

In the mood for something romantic? Then LUBOVI ‘Naissanse’ collection will tune you in right. Light shadows, transparent fabrics, pleated skirts, and fitted shapes create such a tender image of the ambassador of love and affection. What’s more down-to-earth but yet enjoyable, most LUBOVI garments are created from natural fabrics such as wool, cotton, and silk. By the way, the label’s title as well as the name of its founder Lubov translates from Russian to ‘love’. 

KISSELENKO 

Having taken a step in this direction together with ELENA SOUPRUN, we keep moving forward to the East. ‘Collection №47’ by KISSELENKO is nothing but an homage to oriental delicacy. 50 shades of black used in the outfits (I’m talking about anthracite, quartz, coal, and other rock hues) are counterbalanced with red lips and flawlessly white faces of the mannequins. The makeup of the models together with the high rolls on their heads leave no doubt: the story is about a geisha, but a contemporary one. She lives at the rhythm of the city and makes time for herself. Magnificent and laconic, ‘Collection №47’ comes in line with the philosophy of the brand, which may be described as intellectual freedom of expression. Founded by the designer Lilia Kisselenko in St. Petersburg 20 years ago, KISSELENKO was named the best Russian fashion brand by Vogue in 2000.

‘Collection №47’ by KISSELENKO. Courtesy of the brand

‘Collection №47’ by KISSELENKO. Courtesy of the brand

‘Collection №47’ by KISSELENKO. Courtesy of the brand

G E N D E R   F L U I D I T Y

Unisex ready-to-wear garments have no longer been a wonder as a kind of way station between female and male fashion. But what about rewriting the history of vogue, enrobing men in outfits traditionally ascribed to women and the other way round? It’s the young designers who usually enjoy experimenting with gender in their collections. The results might be astonishing.

‘HARD 008’ by HSE Art and Design School

Fashion Department students of the HSE Art and Design School (Moscow) showed up at MBFW with their ‘HARD 008: THE EDGE OF SOMETHING NEW’ collection. Just as the title suggests, the new series is aimed at reminiscing about the past and coming up with new ideas for the future. Trench coats, T-shirts, and tops are featured both on male and female models being photographed in couples. Asymmetry, long trains, and discreet palette of colours define the spirit of the ‘HARD 008’ outfits. 

The Case Project by Marina Aleksashina_HSE Art _ Design School

The Case Project by Marina Aleksashina_HSE Art _ Design School

The Case Project by Marina Aleksashina_HSE Art _ Design School

SERGEI SYSOEV 

Meanwhile we keep on redefining fashion processes together with the Saint-Petersburg-based couturier Sergei Sysoev. The SS 2021 Ready-to-Wear collection by SERGEI SYSOEV isn’t just about dressing men and women in similar costumes that are marked by intimacy and sophistication. It’s also about the changing role of colour that loses its gender specificity. Intense magenta, noble navy blue, tender aqua marine — these shades are beyond the binary thinking and always ad rem. All you have to do is to get creative and match the colours properly. Bear in mind, such elements as tai dai and artistically designed rose-shaped prints will prevent the outfit from looking repetitive.

KRUZHOK

‘MOM’ collection by KRUZHOK is one of the bravest examples of gender fluidity demonstrated at the current MBFW season. It’s the superhuman with the distinctive feminine traits that serves as a prototype for the new collection. The colour palette is all lightness: peach, pistachio, and creamy hues. Large pockets, accented shoulders, A-line, and pencil skirts. Back to the 60s with its baby-doll image? Yes, in a way, and men can wear it!

‘MOM’ Collection by KRUZHOK. Courtesy of the brand

‘MOM’ Collection by KRUZHOK. Courtesy of the brand

‘MOM’ Collection by KRUZHOK. Courtesy of the brand

GILVICHUTE 

Having prior discussed new femininity, it would be fair to talk of men. Designer Yana Gilvichute devotes her new series to the wild 90s (at least, in Russia they were like that, with a highly unstable Perestroika period). GILVICHUTE SS 2021 plays upon the well-known taste of confusion and nascent freedom. Unisex leather coats are still the historically established classic, while male bodysuits, jabots, and puffy sleeves promise to be another sensation, experimental and romantic at once. It would be hard to avoid the choice of color: excellently light blue, it reminds of the times when the dreams and hopes were as endless as the sky. 

GILVICHUTE SS 2021 Ready-To-Wear. Courtesy of the brand

GILVICHUTE SS 2021 Ready-To-Wear. Courtesy of the brand

GILVICHUTE SS 2021 Ready-To-Wear. Courtesy of the brand

To be continued in Part 2. 

*All photographs provided by the press-office of Mercedes Benz Fashion Week Russia

Oktober 31, 2020
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In Focus: Alma Haser

By /ART/, /BLOG/
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Julia Kryshevich

In Focus: Alma Haser

She used to roam across the matchstick factory as a child, having left for a world trip with her family at 13. She usually mixes up words (finding herself quite dyslexic) and prefers visual narratives to the verbal ones. An amazing girl coming from a distinctive background, Alma Haser has decided to turn her life into art and magic. Learn more about her cubist, origami-structured works today.

01. From the ‘Cosmic Surgery’ series. Courtesy of the Artist_

Alma Haser was born to a rather creative family of a painter and a sculptor in the Black Forest (Germany). Her parents used to work on the territory of a matchstick factory in turns, thus, Alma and her brother were often on their own, making up and playing games and exploring the world around them. The artist recalls, it was her wild and free childhood that really shaped her. 

‘We were very much given the freedom to experiment and use our imagination, which I believe is the bedrock of my practice now.’ (Alma Haser, from the interview with AnOtherMagazine, 2018)

03. From ‘I Always Have To Repeat Myself’ series. Courtesy of the Artist_

04. From ‘I Always Have To Repeat Myself’ series. Courtesy of the Artist_

Alma Haser got acquainted with photography while traveling around the world with her mum and her brother over 6 months (instead of attending middle school in the interim). She didn’t lose much, though. During the trip she tried shooting and modeling (for her mother, who is a keen photographer as well). Alma’s rising interest in the world of visual arts resulted in her entering Nottingham Trent University, where she graduated with a BA (Hons) degree in Photography in Art Practice in 2010. Fairly predictable, the artist tried using Photoshop during her studies, but realized soon, it wasn’t the only (and the best) way to manipulate the picture.

‘I preferred to do things by hand and assemble the picture off screen. It’s not perfect, it’s not crisp and clean, and that’s what I like about it.’ (Alma Haser, from the interview with AnOtherMagazine, 2018)

05. From the ‘Cosmic Surgery’ series. Courtesy of the Artist_

06. From the ‘Cosmic Surgery’ series. Courtesy of the Artist_

Having spent much time experimenting with self-portraiture, Alma liked the idea to bring other people in photograph. Thus, in the majority of her projects the artist focuses on creating multi-layered portraits. In her work Alma Haser combines such craft-related techniques as weaving, folding, cutting, stitching, and painting, finding them surprisingly relevant for contemporary photography. 

‘I love making things, so I’ll often add other elements before, during or after taking a picture.’ (Alma Haser, from the interview with Photoworks, 2016)

07. From the ‘Cosmic Surgery’ series. Courtesy of the Artist_

08. From the ‘Cosmic Surgery’ series. Courtesy of the Artist_

Fascinated with Japanese culture and origami, in particular, the artist integrated paper folding into her creative process. For instance, in her debut series Cosmic Surgery Alma transformed parts of the subjects’ faces to place them back with a complicated modular construction. Re-photographing the final composition, Alma Haser received a completely different image, uncanny and futuristic in a way. Interesting enough, it’s the younger generation only, not their parents that the artist exposes to such kind of a metamorphosis. Why so? Here is the answer firsthand: 

‘The people in the photographs represent the next generation from us — the ‘alien people’. The mother and father (the first generation) aren’t defaced, but the others (the next generation) are. Cosmic surgery is a playful statement on that.’ (Alma Haser, talking about ‘Cosmic Surgery’ series in the interview with Metal Magazine) 

09. From the ‘Cosmic Surgery’ series. Courtesy of the Artist_

10. From the ‘Cosmic Surgery’ series. Courtesy of the Artist_

By the way, the title of the series Cosmic Surgery is a wordplay itself. And not just a play, but a play based on a slip. Alma misspoke the word once while discussing the topic of cosmetic surgery with her parents… and decided to name her project after that! The amazing thing is, Alma Haser managed to find her dyslexia a more useful way, fulfilling her artistic narrative with visual puzzles. Intentionally mixing up elements of the works, each time she arranges a new picture and new meanings.

11. From the ‘Twins’ series. Courtesy of the Artist_

Another series by Alma Haser really worth noticing is Within 15 Minutes, which is puzzle-based in the true sense of the word. To back the story a bit up, Alma has always been amazed by twins — their external identity and closeness to each other. She even devoted one of her prior series to this phenomenon, shooting two girls who, though not being sisters, experienced their made-up affinity posing together. 

‘Intrigue and mystery need to be strong. It’s far more interesting to look at a portrait which doesn’t tell you everything all at once.’ (Alma Haser, talking about ‘Within 15 Minutes’ series in the interview with Visura, WPO, 2020)

12. From the ‘Twins’ series. Courtesy of the Artist_

For Within 15 Minutes (a time range during which twins are born) the artist photographed real twins to cut the portraits pictured into puzzles and blend them into each other a bit. Thus, we still have a couple of perfect pictures of twins, but there is something bizarre about each of them: e.g. three nostrils or a narrowed eye on the face. Sounds like an automatically generated image, right? Well, almost — in the series Alma intends to reverse the process of gene transfer, demonstrating how different, actually, twins can be. 

13. From the ‘Within 15 Minutes’ series. Courtesy of the Artist_

There is also a project in Alma’s practice that stands out because of the focus suddenly shifted… to plants. In Pseudo the artist refers to plants as a metaphor for the fake, strongly believed to be true. Plants as a distillation of nature yield us a highly authentic experience, however, it’s plants again that people so often try to imitate. Here Alma Haser skillfully draws a link to the way we interpret and respond to information.

‘It relates to the way we hear, read or see things on the news. We tend to cherry-pick things we think we can trust and believe in’.(Alma Haser, talking about ‘Pseudo’ series in the interview with AnOther Magazine, 2018)

Speaking on the whole, Alma Haser is recognized (and loved) for her paper aesthetic, which has something of a gloomy mystery and a bedtime story at once. So contradictory and complex is Alma Haser herself as an artist. 

16. From the ‘Pseudo’ series. Courtesy of the Artist_

17. From the ‘Pseudo’ series. Courtesy of the Artist_

18. From the ‘Pseudo’ series. Courtesy of the Artist_

P.S. Obviously, Alma’s projects mentioned above haven’t been left unnoticed — the artist received 3rd place People’s Choice Award for Cosmic Surgery series at the Foto8 Summer Show in 2012. Her Within 15 Minutes series debuted at San Francisco PHOTOFAIRS and was on display at Photo London in 2018. In addition, British Journal of Photography called Alma Haser one of the best graduates in Photography in 2010. 

Alma Haser’s website: haser.org
Her instagram: @almahaser

September 21, 2020
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In focus: The World of Women – postmodern pop-art by Irina Greciuhina

By /ART/, /BLOG/
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Alexandra Zagrebelnaia

In focus: The World of Women – postmodern pop-art by Irina Greciuhina
A talented architect and designer found her way in the contemporary art through creation of the monumental paintings of the women. Bright colored, catchy and ironic, these painting make you wonder about all the peculiar details and their meaning.
Irina was born in Chisinau, Republic of Moldova, where she still lives in works. However, her style is influenced by continuous travelling and attending of International Design and Art events.
Discussing her shift from architecture to painting, Irina says “Architectural background is giving me a lot of ideas and knowledge, that I am transforming into my artworks. I am perceiving a process of the art creation as my personal cult and intimate ritual which gives me a freedom of expression”.

Futurological Congress, 2020

After years of experiments, Irina has found the most interesting subject for her – female architypes. In her works she is wondering how personality and world perception of a woman can be affected by the external factors such as giving birth to a child, building a family or even changing the gender roles. The choice of this topic is stipulated by a continuous self-study, as an artist and as a woman. She is imagining and alternative Universe with women in the center. Irina tells that these female images are recreated from different sources around her, including everyday life, fashion magazines and even internet. In fact, when you look on her paintings, you can have a feeling that you’ve seen these characters somewhere before. Maybe it’s a supermodel or a historical personality? However, often these ladies are a product of manipulations and mixing of different pictures, gestures and face expressions.

The Blue Heaven, 2019

Orbital Station, 2019

Paradoxical Illiusions, 2018

Surrealism and interpretation of dreams, became strong references to the artist, but she is expressing it in a post-modern way, mixing bright colors, catchy poses from the posters, decorative elements and patterns with the typical elements of pop art.
Since 2019 Irina has been actively exhibiting her artworks and participating in international projects. In a short period of time she has managed to participate in the International Biennial of Painting, exhibit her works in Italy, Spain and France and even have her first solo shows.
Using mostly acrylic paint and working on large-scale canvases, recently she has started to experiment with digital art, studying how the new technologies can affect the creative process, giving her new ideas and skills.

Shifting the Schizo-pole or gorgeous product that you can sell, 2018

The infinity is multiplied by reflection, 2018

XY00, 2020

And don’t forget to subscribe

Juli 29, 2020
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Interview with Victoria Rosenman

By /ART/, /BLOG/, /INTERVIEW

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I r i n a  R u s i n o v i c h

Interview with Victoria Rosenman

1.Victoria, you have an art education and you planned to devote yourself to painting. What was the key moment to choosing photography as your medium?

There were exactly two key moments that led me to photography:
My familiarity with graphics and painting and unfortunately also my subjective or false perception of artistic value. In the first year of study, I felt very privileged when it came to painting techniques, because I was convinced that my years of experience as a child in a Russian painting school full of discipline and all conventions proved my skill and that I was able to do something better than other people. I demonstrated lifelike illustrations on paper or canvas, but they were without content. This demonstration of the inauthentic, technical ability resulted in my first strong artistic block.
At that time my professor recommended that I write down all my suffering and other emotional states, so that as semester papers and at exhibitions I presented all the texts and formulas that came from within. The reaction of the audience was rather neutral, which made me very outraged and sad. Nobody wanted to read subjective pseudophilosophical texts by an art student. So I decided on stronger visualisation so that outsiders can better engage with my thoughts and concepts. So I started to reproduce the content of what was written in the form of photography: texts became images.

Another reason why I chose  photography and why I also continue the project „From the destruction of a muse“ (the upcoming exhibition „Don’t kill me“ is another component of the project) , are interpersonal relationships that inspire and frighten me, which I ultimately “preserve” as an eternal requiem in various forms of representation.
I started documenting an extraordinary relationship. I wanted to capture the personality of a person because this presence and aura in a good sense nourished and moved me. For me, this person was a muse – a source of inspiration. I later found out that certain characteristics and polarities of a human personality are very appealing to me and I want to „hold onto“ more of the psyche of everyone. Photography was able to clarify my visions and a certain stage of my relationships and trigger further, productive thought processes.

2.Your oevre is inspired by classical photography; light, shapes and color. What do you think is the starting point in your work?

I would not say that they are classic photographic representations. I mostly take pictures outdoors in daylight – I use almost no artificial light sources because I love painterly aesthetics and the transition or mixing of photos to and / or painting is very liberating. I don’t want to commit myself to a specific medium, the photos I take are part of the whole. Texts, installations and, of course, the “muses” are part of the whole. Often at my openings people are exhibited in front of their photographic images, which I call my muses. So I offer the viewer to compare the „living“, „breathing“ reality with my perception. Speaking of comparisons: if we come back to the original question: the classic view of my photos is explained or visible to the extent that, of course, I do not like depth of field or photograph everything sharply and light / shadow plays often achieve painterly effects that are reminiscent of old master paintings.

3.Choosing a Muse is the main part of the process for your works. Tell us about how you choose them?

I watch a lot, but I’m not looking for people who should become my muses. People who work with me on the project, despite their openness, radiate a lot of discrepancy and are not afraid to show their vulnerability. To recognise such a character, of course, I also have to spend some time with this person. The revelation of the inner polarities of a muse is the origin and beginning of my artistic work. The photographic illustration or texts are only final results or memorabilia, a valuable process that documents an interpersonal relationship – a devotion between artist and muse, an interplay of power and dependency, guilt and innocence – a mutual challenge. I also write about this in my manifestos, which I have now published in the form of an art book (the book can be purchased at the opening of „don’t kill me“)
Of course, a discrepancy between the outside and inside of a person is always very exciting and a certain appearance often leads us to get to know the personality of the person better. In the end, mutual trust counts and good friendships have developed from many processes.

4.Your manifesto speaks of a certain “seismographic perception of a person”, please explain what exactly this means and how it is displayed in your works.

My “muses” should be able to show themselves to be as vulnerable as possible. Of course, this requires a lot of preparatory work, a process that I call very valuable. In the process, we build trust, open up, deliver each other. You go through different phases together, which are sometimes attractive, sometimes painful. Later, a clear psychogram of a personality emerges – in the case for me: a photographic image of the „current“ muse. This means that a „seismographic“ approach means a meticulous recording or demonstration of the characteristics of a muse.

5.The starting points in your work are eternal human conflicts; power and dependence, destruction and creation. What exactly do you project in your works? Process or decision

The process is supposed to satisfy me in the first place and when it happens, I automatically trigger new thoughts and thus also offer solutions. Whether these solutions can be applied to other individuals is less important to me. It is enough if questions arise. „Mark“ questions people – I like this idea.

6.Describe what beauty means to you in a nutshell.

I think there are many types of beauty and their intensities increase or decrease in different contexts. For this I reveal my first, self-invented formula, which I presented on a DinA4 sheet of paper in my first year of graduation:
Degradation / effect = value.

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Mai 25, 2020
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